February 1997 1 2 CERAMICS MONTHLY February 1997 Volume 45 Number 2 Timely advice on revamping a kiln assured the safe firing of a year-long project. FEATURES 31 31 Of Ceremony and Ceramicsby Luis G. Guerra Louis Marak’s work blurs “the lines between what is true or real 35 Whimsical Collaborationsby Laurie Davis and what you can convince the viewer could be true or real.” 39 Emerging Artists Competitionby Joan Lincoln 55 41 20th Annual Philadelphia Craft Show with Selling at Retail Shows by Sandi Pierantozzi and Neil Patterson 48 A Certain Depth of Caring by Jack Troy 52 Effects of a Residency in Japanby Douglas Kenney 55 Illusionary Sculpture The Slab Work of Louis Marak by Cathy Ray Pierson 59 20th Fletcher Challengeby Christine Thacker Jack Troy describes how some glazes 63 Divine Dining document subtle atmospheric variations Diary of a Class Project by Kate Blacklock within the kiln. 48 Exposure to a different aesthetic and expanded technical capabilities encourage changes in surface and form. 52 The cover: Canadian artists One of the top craft shows in the U.S. Dan Ferguson and Nisha; see celebrates its 20th anniversary; vase their “Whimsical Collabora­ by Chris Simoncelli. tions” beginning on page 35. Photo: Vivian Gast. 41 February 1997 3 UP FRONT 10 John Maltby Editor Ruth C. Butler 10 Michigan Potters Exhibition Associate Editor Kim Nagorski Art Director Randy Wax 12 K’96 International Ceramic Art Exhibition Circulation Manager Mary R. Hopkins Assistant Circulation Manager Mary £. May 12 The Great Cereal Bowl Show Advertising Manager Connie Belcher Publishing Consultant Spencer L. Davis 12 Bennett Bean Publisher Mark Mecklenborg 14 Tiny Ceramic Motors Editorial, Advertising and Circulation Offices 735 Ceramic Place 14 Otto Heino Honored by George Toscas Post Office Box 6102 Westerville, Ohio 43086-6102 14 Southern Arts and Crafts 1890-1940 Telephone: (614) 523-1660 Fax: (614) 891-8960 E-mail: [email protected] 16 Bus Stop Tilework by Christy Hengst [email protected] [email protected] 18 John Chalke and Jacquelyn Rice Ceramics Monthly (ISSN 0009-0328) is published monthly, 18 Liz Surbeck Biddle by Sarah Sedgwick-Coble except July and August, by the American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081. Periodicals postage paid at Columbus, Ohio. Subscription Rates: One year $24, two years $44, three years $60. Add $10 per year for subscriptions outside the U.S.A. In DEPARTMENTS Canada, add GST (registration number R123994618). Change of Address: Please give us four weeks advance notice. 8 Letters Send the magazine address label as well as your new address to: Ceramics Monthly, Circulation Department, Post Office Box 20 New Books 6102, Westerville, Ohio 43086-6102. 24 Video Contributors: Manuscripts, announcements, news releases, photographs, color transparencies (including 35mm slides), 66 Call For Entries graphic illustrations and digital TIFF or EPS images are wel­ come and will be considered for publication. Mail submissions 66 International Exhibitions to Ceramics Monthly, Post Office Box 6102, Westerville, Ohio 66 United States Exhibitions 43086-6102. We also accept unillustrated materials faxed to (614) 891-8960. 68 Regional Exhibitions Writing and Photographic Guidelines: Printed information on standards and procedures for submitting materials is available 68 Fairs, Festivals and Sales upon request. 72 Suggestions Indexing: An index of each year’s feature articles appears in the December issue. Additionally, Ceramics Monthly articles are 76 Calendar indexed in the Art Index. Printed, online and CD-ROM (com­ 76 Conferences puter) indexing is available through Wilsonline, 950 University Avenue, Bronx, New York 10452; Information Access Com­ 76 Solo Exhibitions pany, 362 Lakeside Drive, Foster City, California 94404; and from daai (design and applied arts index), Design Documenta­ 77 Group Ceramics Exhibitions tion, Woodlands, Stone Cross, Mayfield, East Sussex, TN20 80 Ceramics in Multimedia Exhibitions 6EJ, England. These services are also available through your local library. 81 Fairs, Festivals and Sales Copies and Reprints: Microfiche, 16mm and 35mm microfilm 82 Workshops copies, and xerographic reprints are available to subscribers from University Microfilms, 300 North Zeeb Road, Ann Arbor, 86 International Events Michigan 48106. Back Issues: When available, back issues are $5 each, postage 88 Questions paid. Write for a list. 92 Classified Advertising Postmaster: Send address changes toCeramics Monthly, Post Office Box 6102, Westerville, Ohio 43086-6102. Form 3579 94 Comment: requested. Defending “Small” by Delia Robinson Copyright © 1997 96 Index to Advertisers The American Ceramic Society All rights reserved 4 CERAMICS MONTHLY February 1997 5 ment of State, Division of Cultural Affairs, accompany many Cone 7 glaze articles would Letters the Florida Arts Council and the Arts Coun­ be of far greater value if they included a full cil of Hillsborough County. So why do they description, i.e., texture, color—mottled, need to gouge the artist? speckled, etc. Rarely do we see more than an Craft Show Gouging Patti Underwood, Birmingham, Ala. obscure name and the cone number. Better Greed seems to have been rearing its ugly yet, key the glaze to a color illustration. head lately. Last summer, a local arts and No How-To Ernest R. Owen, Lakewood, Calif. crafts fair went from a booth fee of $ 15 up to The article “Rules, Rules, What Rules?” $65. Since the serious artistlcraftsperson is on paper clay (JunelJulylAugust 1996) was Technical Emphasis juxtaposed with sellers of carnival goods and very interesting, but very disappointing. After I would like to see a lot more emphasis crocheted toilet-paper covers, and since most reading the article, I was excited about trying (i.e., articles) on the technical; from throwing folks come for the food and live entertain­ it, but there was no “how-to” information. techniques, difficult forms (large pots, diffi­ ment anyway, $ 15 was not too low a fee. Please, when printing articles on tech­ cult shapes) to glaze formulation and prin­ Apparently, I was not the only craftsperson niques that are not common knowledge, ciples—maybe a dedicated section of the who declined to attend. The organizers calledshare with us recipes and instructions. magazine. me three times, dropping their booth fee each Bee Mandell, Magalia, Calif. I also love to see classy examples of time to a final quote of $45. Still too high for “good” design, decoration and glazing. I am this particular event. As referenced at the beginning of the “Rules, really turned off by the ricky-ticky, rinky- An art show in Tampa wants $25 for 3 Rules” article, Rosette Gault had previously dink, off-the-wall, weird, super avant-garde entries. Not too out of line, I thought. Read­published an article aboutpaper-clay processes stuff7. It usually appears strained, pretentious ing further, there is a handwritten message in the June 1992 CM. and lacking in taste. But I would still like to that a 40% commission is to be charged, as Back issues are no longer available; however, see it featured periodically for those who dig well. Now, figuring all this up, I’d be out $25photocopies may be obtained through University it and to keep up with what’s going on. to start. If all my sculptures were accepted, Microfilms, 300 North Zeeb Road, Ann Arbor, Ted Hilbourn, Sonora, Calif. it’d cost me another $20 or so to ship them Michigan 48106.—Ed. to Tampa. If I charge $100 per item, they I love the technical data given by the take $40 of that. Minus the $25 jury fee, Stamp Action Rebuttal featured artists. Just a show of work without minus the $20 in shipping costs, guess I’d In reply to Evelyn Carnes (January 1997 details of how one does arrive at the results make about $ 15 for the first work—and Letters) who wonders why I do not use clay helps nobody understand the overall story. that’s only if the right buyer comes along. stamps rather than foam rubber, then sug­ Matt Hoogland, San Jose, Calif. There is a cash prize—monetary amount gests that I am teaching kids “inferior tech­ suspiciously unstated. What if this cash prize niques” and that they “may become Basic Education is only $25? Well, gee whiz, it’d pay the jury disenchanted with the media”: Over several years of receiving Ceramics fee; but what about that 40%? First of all, I rarely teach children. My Monthly, I’ve enjoyed the ways all the bases Not being a world-renowned sculptor, I caution [to check with Poison Control beforeare touched regularly regarding ceramics. The know my stuff isn’t going to sell to any­ the irregular use of materials; i.e., cutting book department, I feel, is particularly body—not even my mother—for thousands foam rubber stamps with a soldering iron] strong. I first learned how to throw and or even many hundreds of dollars. Is this howwas addressed to teachers who do. handbuild from John B. Kenny’s The Com­ they keep the Art World inaccessible to Then, I am professionally careful about plete Book of Pottery Making. Robin Hopper’s struggling artists? Is this how they keep art offtechniques I do teach, and try to keep up to The Ceramic Spectrum was and is a godsend limits to middle-class art lovers who might date about safety issues. to learning glaze materials. There are a few treasure our works but can’t afford the But that is not the point. Ms. Carnes is more that I have purchased and all have been inflated prices necessary to cover the jacked- talking about stamps that impress a relief intovery helpful. Thanks for a “free” potter’s up expenses? wet or leather-hard clay. What I was talking education. What really frosted me this time was that about are foam rubber stamps with which Harry F.